內台歌仔戲研究芻議

A Basic Comment on the Study of Taiwanese Opera Theatre (Nei-tai Ghe-zei-hsi)

歌仔戲有兩度大流行，一是在日本時代的中期（約1910－1930），另一是在國民政府遷台初期（1949－1960），這背後都有其政治上、社會上與經濟上的原因，本文將透過對這二波普遍流行所進行的研究加以分析與述論。對第一波歌仔戲大流行提出批評的學者有日本學者，如人類學者風山嵐、片岡嚴，都提到歌仔戲的前身車鼓戲、雜唸歌謠等；最早批評歌仔戲卻採負面態度的有陳鏡波。第一個對內台歌仔戲研究作出貢獻的，當然非呂訴上莫屬，他的〈台灣歌仔戲史〉中論述日本時代歌仔戲進入內台，後來學者據以論述日本時代內台歌仔戲幾乎都以此為基本出發點。如曾永義，即接受了呂的兩個論點：歌仔戲進入城市後隨即職業化，此其一；職業化以後逐漸發展成為比較完備的劇種，從而在台灣各地流行，取代「外江戲」的地位。而對內台劇場系統研究最深入的，首先是邱坤良先生的《日治時期台灣戲劇之研究》一書，後續「拱樂社劇本整理計劃」為內台歌仔戲研究打下甚為難得的根基，開出往後後續研究的好幾條道路。歌仔戲研究論著已蔚為大宗，唯內台歌仔戲受限於無劇本（當年只依幕表總講後即興演出）論著最少；但這並不表示沒有可供開拓的空間，在鳥瞰過內台歌仔戲研究的大要之後，茲試著就理論層面提出內台歌仔戲所涉的相關美學問題：滾歌仔的小戲根源、內台歌仔戲的傳統性、內台歌仔戲的空間敷佈、內台歌仔戲的現代性（當下性）、內台歌仔戲的去化問題、內台歌仔戲與台灣文化記號系統等。本文從內在文本分析到外在文化價值分析等方面看，歌仔戲既為台灣戲曲文化的唯一本土產生的戲種，它顯現台灣文化主體性的文化價值仍待大家予以定向與評論，這也是本文所要加以探討的主要論題。There are two main popular strains of Taiwanese Opera Theatre (Nei-tai Ghe-zei-hsi), the one is in the middle stage under Japan occupation 1910-1930), the other is in the first stage under Nationalist Party (KMT) Government that moved to Taiwan. The Analysis of the these two currents is the main objects of this paper. In the first stage, the scholar were Japanese anthropologists who has mentioned the ex-styles as vehicle-drum show (tche-gou hsi), mixing recitation song (tza-nein-zei) etc. And the earlist comment on Taiwanese Opera Theatre was the critical opinion by Chen, Ging-Po. The first contributions to the study on Taiwanese Opera Theatre, surely is no other than Lu, Sou-Sang. In his ''A History of Taiwanese Opera Theatre'' , he has noted two points that was accepted later by Prof. Jeng, Yung-Yi: 1.Taiwanese Opera Theatre was professionalized soon after it entered city, 2. Being as a sort of somewhat completely theatre type, Ghe-zei-his takes the place of Peking Opera. The first system study on Taiwanese Opera Theatre is Chiu, Kun-Liang's ''A Research on Taiwanese Theatre under the Japan Government''. And after fullfilled the Editing projet on Playscripts of Gon-Yue society, he contributes ''Chen, Cheng-San and Gon-Yue society'' as the most deeply study on Taiwanese Opera Theatre that is commented in this paper. The study on Taiwanese Opera Theatre now is become a grand career, but the aspect of interior stage (Nei-tai) is so limited and so few owing to there was no playscript reserved (by that time there remained scnario and performance in improvization), nonetheless there leaves the space for further study such as : the roling singing (gun gua-ah) as its originated root, the traditionality, the space tribution, the modernity, the transformability, and its relation with taiwan cultural sign system etc., all reveal the complex aspect if the fields of the interior stage (Nei–tai).